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OnStage A Publication of the University of Dallas Drama Department

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Welcome to the first edition of OnStage, a Table of Contents new way for you, our audience, to engage more deeply with the productions of the drama department. OnStage will be published 3 The Life and Times of Mary once a semester and you can look forward to coverage which highlights our plays Stuart in performance with a focus on our major production each semester. My hope is 5 Tudor Timeline that OnStage will offer you a rich opportunity to enlarge and expand the ways in which we can interact with each other centered on the dynamic productions on 6 Coffee with the Queens our stages! 8 Cast and Characters 10 The Life of Friedrich Schiller Our first issue focuses on the fall 2015 mainstage, Mary Stuart, Schiller’s stunning 11 Modern Mary: Bringing the historical drama of political ambition, sexual jealousy and spiritual redemption. Queen of Scots to the 21st I am directing modern playwright Peter Oswald’s new version which features a muscular and direct english and uses both prose and poetry to dynamic effect. The Century historical Mary Stuart has always captured the imagination even while she was 12 Tackling Schiller: An Interview still alive. When Schiller began to work on his play, Mary was thought of in popular with Director Kyle Lemieux lore as a kind of second Helen. The Mary of our imagination is the Mary that exists 14 Behind the Scenes: An Interview in Schiller’s play, but no less so than Elizabeth, who by 1800 in Germany also had with the Designers mythic status as a ruler- “The Virgin Queen”. In this intermixing of both historical fact and myth, Schiller’s extraordinary play comes to new, thrilling life. 15 Upcoming Events at the MJT

Producing any play presents unique challenges. Producing a period piece of the scale and scope of Schiller’s Mary Stuart requires near heroic efforts, beginning with the two gifted actresses playing our queens, Zeina Masri as Mary and Maria Hotovy as Elizabeth. Our costume and scene shops have been working diligently University of Dallas Drama Department since the scorching days of August to bring Schiller’s play to vivid life. I remain in OnStage awe of both our shops which, semester after semester, produce work at such a Volume 1 #1 high level, and my colleagues Susie and Will who tirelessly lead our student-run Editing Staff shops which execute their designs. Editor in Chief: This fall, in addition to Mary Stuart we have an exciting line-up of Senior Studios, Alonna Ray led by seniors Simon Lemaire (Flowers for Algernon), Esther Sequeira (The Count- ess Cathleen), and Stephen Thie (Wanda’s Visit). Working under the mentorship of Layout Design: Beatrice Dowdy Professor Novinski, I’m sure you’ll find the Senior Studios both diverse and satis- fying. Contributing Writers: Claire Joyce Finally, keep your eye out for the productions in our After Hours Series: your op- Angela Simon Beatrice Dowdy portunity to see what our student-artists have been wrestling with intellectually Alonna Ray and emotionally in their work. Olivia Genusa

Photographers: Paulina Martin Gabriela McCausland

Cover Design: John Wilson Kyle Lemieux Editor: Chair, Drama Department Matthew Brumit 2 the pawn of the pro-France and pro-Catholic party, then she be- The Life and Times comes a pawn of the Presbyterian Church. And then she’s the pawn of her men.” And then there is the political unrest between the Catholic and Presbyterian Churches as each vies for political of Mary Stuart power and control over the State’s religion. Mary’s life consist- ed of misfortune after misfortune, and then, in the moment she by Alonna Ray finally sought aid and refuge, she was locked away and held in captivity for the last twenty years of her life.

Centered on the final days of the infamous Scottish Elizabeth, meanwhile, was in her own state of turmoil. During her reign (1559-1603), England was not a particularly strong queen’s life, Friedrich Schiller’s Mary Stuart takes on a tumultuous period in the English Monarchy. In 1587, Mary Stuart, granddaughter of Margaret Tudor and great-niece of Henry VIII, had been a prisoner of her cousin Elizabeth I, Queen of England, for almost twenty years.

She had recently been convicted for her alleged involvement in the Babington Plot, a plan to assassinate the English queen. In Schiller’s play Mary steadfastly claims that she is not guilty of the Babington plot, but historical evidence remains ambiguous and historians disagree about her involvement to this day. Schil- ler dramatizes the tenuous conflict between these two powerful women, but also shows the difficulties they faced within their own spheres. The acts of the play alternate between Mary’s imprisonment at Fotheringhay and Elizabeth’s struggles as a female ruler in a patriarchal court. By showcasing the difficulties that each of them faced, Schiller's play suggests that, though Eliza- University of Dallas Drama Department beth did sign the death warrant for Mary’s potentially unjust exe- OnStage cution, their relationship was not simply that of a tyrant and her Volume 1 #1 victim. In order to shed more light on these events, Dr. Francis Swietek, Associate Professor of History and resident expert on Editing Staff Tudor and Stuart reign, delved into the rich history that led to the execution of the Scottish queen. Editor in Chief: Alonna Ray Though Mary was born and raised in a life of luxury, Swietek de- Layout Design: scribed her life as far from easy. At age five she was sent to the Beatrice Dowdy French Court and was married to the Dauphin, Prince Francis II at age fifteen. After her husband’s premature death, she- re Contributing Writers: turned to Scotland, claimed her birthright as queen there, and Claire Joyce began to make a multitude of grave mistakes, primarily related Angela Simon to her marriages and supposed affairs. She married Lord Darn- Beatrice Dowdy ley, who produced for her an heir but treated her horribly. After Alonna Ray the mysterious murder of her second husband, her next mistake Olivia Genusa was marrying the very man who had conspired to kill him, James Photographers: Hepburn, Earl of Bothwell. In 1567, she was imprisoned by her Paulina Martin half-brother, James Stuart, Earl of Moray, but was able to escape, Gabriela McCausland fleeing to England in hopes of being protected by her cousin, the English queen. Upon entering England, however, she was placed Cover Design: under house arrest immediately and kept in northern England for John Wilson the remainder of her life. Swietek describes her as a rather pa- thetic character, having always been a pawn: “She was the pawn Above: Zeina Masri as Mary Stuart and Emily LaFrance as Hanna Editor: of her mother, who married her off to Francis. She was a pawn Kennedy in rehearsal. Above Opposite: Maria Hotovy, playing Queen Matthew Brumit of the French court. Then when she gets to Scotland first she’s Elizabeth, talks with Director Kyle Lemieux. 3 country: there was constant fear that the “What Mary did was to crystallize the anti-Elizabethan senti- Spanish Armada would attack, and -fac tions had broken out that, according to ment among English Catholics. She became the focus of any Swietek, either wanted to “Presbyterian- ize the Church … [or] undo the Anglican conspiracy no matter how ridiculous… simply because she Church entirely and return England to Ca- tholicism.” Elizabeth sat on a throne that was the one who would naturally have replaced Elizabeth.” had formerly only been occupied by men, and the Privy Council was constantly trying to sway her opinion the lines of her father [Henry VIII].” But, in doing so, she greatly and promote its own agendas. Elizabeth was already struggling angered English Catholics, who became a great danger to her. to “find her way through all these labyrinthine problems,” as Swietek described them, in order to stay afloat as the monarch Elizabeth was excommunicated by Pope Pius V, who then called of a country which seemed to be in a constant state of turmoil. for her to be overthrown. Subsequently, radical Catholic groups Then, amidst all of this calamity, she winds up with, as Swietek began to plot her assassination. Whether or not the Scottish put it, “a hot potato who had to be dealt with.” Mary had fled to queen actually had any involvement in these assassination plots, England seeking refuge, but she had brought with her a whole Swietek stated, “What Mary did was crystallize the anti-Elizabe- slew of problems that Elizabeth had no desire to deal with. As than sentiment among English Catholics. She became the focus soon as she appeared on the scene, the Privy Council began of any conspiracy no matter how ridiculous…simply because she pushing for her execution, yet Elizabeth avoided this at all costs was the one who would naturally have replaced Elizabeth.” The and put it off for as long as she possibly could—for, as Swietek play presents Schiller’s opinion that she was innocent of actual stated, “If you kill one Queen, why can’t you kill another?” She involvement in these crimes and that her alleged letters during was terrified that this act of regicide would damage her already the Babington Plot were merely forgeries. Dr. Swietek cautioned precarious position on the throne. against taking such a black and white view, however, stating, “I think it is a mistake to take this as some sort of cut and dry thing On top of all of these struggles endured by both Queens, their where Elizabeth is the villain and Mary is the heroine…you have lives were complicated further by the religious unrest of the to try to understand the problems that each of them are facing. time. The English Reformation began with Henry VIII, who did They’re very real problems.” not want to change the doctrine of the church but wished to sep- arate England and himself from Rome. After his death, his young No doubt, Mary was incredibly ambitious for the English throne, heir, Edward, was taken advantage of by the Protestant minis- and Elizabeth would have been eager to wash her hands of such ters who began, as Swietek put it, “Protestantizing the Anglican a dangerous prisoner. Neither queen is completely innocent, Church in terms of Doctrine.” Edward was followed by Mary Tu- but neither can really be considered a villain. As Swietek so suc- dor—commonly known as “Bloody Mary”—who, through great cinctly put it: “Ultimately, [it was] a struggle in which only one of violence, attempted to reunite the Church with Rome. After fail- them could win.” ing to produce an heir, the succession passed to Elizabeth I who, as Swietek stated, “was not really a religious person in terms of Below: Stephen Eich, Maria Hotovy, Simon Lemaire, and William Buckley in re- letting her political decisions be guided by her religious motives. hearsal. Opposite: Zeina Masri and Maria Hotovy rehearse the climactic encoun- She wanted to re-establish the Anglican Church basically along ter between Elizabeth and Mary.

4 Tudor Timeline

1491 Henry VIII born 1509 Henry VIII ascends to the throne, marriage to Katherine of Aragon 1527 Divorce crisis begins 1533 Henry VIII marries Anne Boleyn; Birth of Princess Elizabeth 1536 Edward VI born 1542 Mary, Queen of Scots born 1547 Henry VIII dies; Edward VI ascends to the throne 1548 Mary, Queen of Scots, sent to France 1553 Edward VI dies, Mary I ascends to the throne 1554 Elizabeth I imprisoned in Tower of London from March through May 1558 Mary, Queen of Scots, marries the Dauphin, Prince Francis II; Mary I dies 1559 Elizabeth I crowned Queen of England and Ireland; Francis II crowned King of France; he and Mary claim they are King and Queen of England and Ireland as well 1560 Francis II of France, husband of Mary, Queen of Scots, dies 1561 Mary returns home to Scotland 1564 Lord Robert Dudley created Earl of Leicester 1565 Mary, Queen of Scots, marries Henry, Lord Darnley 1566 David Rizzio murdered; Birth of James VI of Scotland (the future James I of England and Ireland) 1567 Darnley assassinated at Kirk o’Field; Mary marries James Hepburn, Earl of Bothwell; Mary forced to abdicate 1568 Mary, Queen of Scots, flees to England and is imprisoned by Elizabeth I 1570 Papal bull declares Elizabeth excommunicated and deposed 1586 Babington Plot; trial of Mary, Queen of Scots 1587 Execution of Mary, Queen of Scots 1603 Queen Elizabeth I dies, James I (James VI of Scoland), son of Mary, Queen of Scots, ascends to the English Throne

5 Coffee with the Queens by Beatrice Dowdy

It was Saturday morning at the Cap Bar. The coffee how deep her personal life is in the play. maker whirred in the background, and around us stu- MH: Underneath her power and status, Elizabeth’s very insecure. A big aspect of this play is the jealousy between the two queens— dents engaged in relaxed conversations over cappucci- who’s hotter, who’s got more guys. Something we’ve been discov- ering in the rehearsal process is how, because she’s a queen, Eliza- nos. I sat down with Zeina Masri, who plays Mary Stu- beth has the power to get as mad as she wants, and to be as flirty as she wants, and to be as ridiculous as she wants—but that’s her art, and Maria Hotovy, who plays Queen Elizabeth. We way of showing authority over a situation. I find that interesting proceeded to spend half an hour drinking our coffees and discuss- because I didn’t initially think of her that way. At the very core, ing the two characters that they play in the the Drama Depart- if you take everything away, Elizabeth is just this woman who’s ment’s upcoming production of Mary Stuart, their relationships, in a situation that she really can’t control, and she’s trying to the their private fears and desires, and the role that jello plays in the best she can, and she has all these desires that any woman would rehearsal process. have. Kyle has talked a lot about “scale”; for Elizabeth everything she does is a show—everything she does is this huge spectacle of BD: What are some of the initial insights you’ve had into your authority and power. characters? BD: How do you see the relationship between the two? ZM: One thing that has really surprised me has been how deeply, deeply human Mary is. When I first heard about the show, I MH: Their relationship has been building for essentially their thought it sounded interesting, but at the same time it seemed whole lives, but especially the last nineteen years during which a little distant—it’s about court politics, the state of the country, Elizabeth has had Mary in prison. It’s really interesting because and all this intrigue. But with Mary, I’ve really been astonished at the meeting of the queens in Act III never actually happened; it 6 was a complete fabrication. Everyone wanted it to happen, but it’s indication that she was dying a martyr’s death; that would have more like Schiller’s fan-fiction of history. stirred up the Catholic sympathies in England, and that would have been something she would have wanted. But I think that after her ZM: They go way back, because even before the nineteen years extremely cathartic experience in Act III she’s sincere. One of my they had all of this anger building up in favorite lines that Elizabeth says, is this: Mary’s heart, and all of this fear building "These women don’t even know “All she wanted was to be a woman.” up in Elizabeth’s heart; there was a long what it’s like to be victims. They All she wanted was to be a woman, history of these tensions between them. and she is a woman. Mary’s struggle is Before that they didn’t personally know are queens.” very spiritual— it’s very emotional, ob- each other, but there was ceremonial viously— but I think at the core of it is goodwill. Elizabeth was the godmother of Mary’s son; Elizabeth a spiritual struggle, and it’s something most people can probably actually wrote to Mary saying, “I know this isn’t your fault, but relate to. She struggles with pride and disordered desires as well this is what people are saying about you—but I’m on your side.” as these virtues that she has: strength and patriotism and love, all They actually weren’t arch enemies forever. perverted in a sense by her pride— it’s very realistic and it’s very personal. MH: And there’s this line in Act III:“Can you imagine what I would have been, a loving cousin and a grateful friend?” You are friends BD: What’s the best piece of direction that Kyle has given you? with people on the same level. For these queens, no one else is their peer, no one else is on their level. ZM: I’m just going to start with my favorite note that Kyle has given me. In Act III, when we’re facing off, we ran it and he told me, ZM: And that’s what’s sad: if things went well, Elizabeth would “This scene is an actor’s gift. It is a pool of jello and you should be one of the only people who could understand what Mary is really acknowledge that.” I still am not entirely sure what that going through. But that’s one of the things that makes Act III so means. In all seriousness, though, “No one is a victim.” I am not a interesting when they meet: Mary considers Elizabeth her peer, victim, you are not a victim, neither of us is a victim. and Elizabeth had previously considered Mary as her peer, and probably still does in her heart of hearts. Mary is forced into this MH: There’s a line where I’m crying about something, and it feels position of having to grovel to Elizabeth, and it’s hard because she so hard, and Kyle said, “No, these women don’t even know what knows they are equal, they are both queens, and they are peers. it’s like to be victims. They are queens.”

BD: Do you think that Elizabeth really wants Mary’s death, or is ZM: And that’s hard, especially for me, because I’m literally grov- she forced to order it? What is trapping her if she really is the eling at her feet, but I still can’t be a victim. It’s hard, but it’s true, most powerful woman in the world? and it’s so much more compelling that way. Mary does not apologize. Elizabeth definitely does not apologize. They are queens. MH: She goes back and forth. She gets a letter from Mary at one They accuse. point and is genuinely touched and concerned that a fellow queen has gotten to this level of groveling, and that really does scare Zeina and Maria mentioned that taking on a historical character is her: I think she sees that it could be her. We talked about how both a blessing and a curse—there is information for the actor on queens at this time were like deities; they were so high above every aspect of the character’s life and personality, but the actor normal people. That’s why executing another queen is such a big does not have the freedom for a brand new interpretation. Yet deal, because, as the play says, “If the queen’s head isn’t safe, because of this we are thrust into intimacy with historical giants. who’s is.” If I cut her head off, that will lower my own status, and What better way is there to understand a person than to become people won’t respect me. that person? For the audience, it is certainly a gift: we have heard of these two queens for our whole lives: now we actually encoun- I think that at the very core she doesn’t want to kill Mary—she’s ter them. not that cruel—but she gets pushed to that point of thinking, And, in my case, chat with them over coffee in the Cap Bar. “This is the only option I have left to protect my throne and my reputation.” She mentions the word “duty” all the time. In a way, she’s trapped by something that she feels herself, in addition to all the problems with the Privy Council, her jealousy with Mary, and all the problems she has going on. It’s hard because she’s a single woman on the throne. It’s been hundreds of years since any woman reigned on a throne alone. For her there’s always that fear— she’s in a new territory, and will people still respect her when she’s a single woman ruler? She doesn’t have the security of being a man.

BD: Do you think Mary’s desire for forgiveness is genuine?

ZM: There was a huge advantage in making a big production out Above and Opposite: Zeina Masri and Maria Hotovy share some off-stage bond- of her death. There was an audience out there waiting for any ing time. 7 The Cast and Historical Figures of Mary Stuart Government Art Collection Government

Queen Elizabeth I Maria Hotovy Mary Stuart Zeina Masri Queen Elizabeth I Mary Stuart

Robert Dudley, Simon LeMaire George Talbot, Gregory Frisby Earl of Leicester Earl of Leicester Earl of Shrewsbury Earl of Shrewsbury

William Cecil, Paul Lewis Matthew Sawczyn Austin Ferguson Lord Burleigh, Count Aubespine,* William Davison,* 8 Lord Burleigh High Treasurer Melvil* Secretary of State The Cast and Historical Figures *There are no known portraits of these characters. of Mary Stuart **Mortimer is the only fictional character in Mary Stuart.

Amias Paulet William Buckley Jane Kennedy Emily LaFrance Amias Paulet Hanna Kennedy

Nicholas Moore George Paddock Matthew Cina Jackson Berkhouse Mortimer** Ensemble Ensemble Ensemble

Ellen Claire Rogers Ali Sentmanat Elizabeth Herrera Rachel Van Pamel Production Stage Assistant Director Assistant Stage Assistant Stage Manager Manager Manager 9 Along with his contemporary, Johann Wolfgang von Goethe, Schil- ler aimed to create a German National Identity of Art. With all the turmoil of the revolution in France and the disunity of the German The Life nation, they saw art as a way of unifying the German people and giving them a greater sense of common culture. Eidt describes this of Friedrich Schiller as a time period when Germany “became very self-reflective… [it by Alonna Ray was] the age of so much German philosophy, German music, Ger- man intellectual endeavors.” Though there was no political unity to be found, Schiller and Goethe believed they could find unity by creating an enlightenment of the populace through culture. While Friedrich Schiller (1759-1805) was in many ways the the French Revolution evolved into the Reign of Terror, Schiller and Goethe believed that a true revolution would be a cultural name and face of the German Classical movement of revolution that united the people through art. Though Goethe is more popularly read now, Schiller was, as Eidt suggested, “a rock- the late 17th century. He made significant and plentiful star of his time who was at the center of any cultural or aesthetic or literary debate of the time.” contributions to German literature, and his works of Living in a very tumultuous time, Schiller was drawn to tragic his- poetry, drama, and aesthetics remain poignantly appli- torical figures. His dramas often deal with an individual’s reactions and struggles in the midst of a large-scale historical issue. Eidt cable today. described this stylized method of dramatization in this way: “He takes a historical subject, but then Inspired greatly by his personal life, focuses on a particular figure, gen- his dramatic works display a keen fo- erally one that is reacting to some cus on the freedom of the individual in sort of tyrannical situation whose relation to his or her circumstance in principles are generally about history. This theme is especially seen freedom and self-expression and in his sublime tragedy, Mary Stuart. self-realization. He then focuses on Dr. Ivan Eidt, Chair of the Department that aspect of the historical figure.” of Modern Languages and Literatures, Schiller was captivated by these an expert on Schiller, was able to shed figures, and Mary, Queen of Scots some light on Schiller’s life, philoso- was one in whom he took particu- phy, and works, including the dramati- lar interest, but this theme is cen- zation of the life of the Scottish Queen. tral to almost all of his dramas. Eidt highlighted Schiller’s intense focus Though he died young, Schiller’s life on “the idea of individual freedom was far from uneventful. For his first and political freedom as juxtaposed profession, he became a doctor, and, with a system or historical situa- at a young age, was drafted into mili- tion that ends up crushing it.” This tary service by Karl Eugen, Duke of Wurttemberg. Eidt described theme can be seen in his Don Carlos and Thirty Years’ War as well. this militaristic environment as quite oppressive under the tyrannical duke: Though he was a sensationally popular figure in his time, his works have been somewhat overlooked over the past century “Schiller wasn’t allowed to write plays, and he wasn’t allowed to and overshadowed by the works of his partner, Goethe. However, perform them. He would leave the barracks at night and go across in 2005 there was a sort of “Schiller Renaissance” that took place to another town to perform them. And that would have been in Germany as scholars began taking a closer look at his works severely punished if they caught him. And at some point he just and brought escaped. It was basically desertion, and he was a wanted man in them back into Schiller was “a rockstar of his that area and couldn’t go back until the Duke died.” the limelight. time who was at the center of It is fitting that The courage and determination he displayed from this dramatic UD is perform- any cultural, aesthetic or literary escape turned him into “a symbol for anyone who tried to break ing the Oswald debate of the time.” away from tyranny.” His life and plays became particularly inspi- translation of rational to the French revolutionaries who even went so far as to the play because it was published in the midst of this renaissance. make him an honorary consul of the New Republic. Eidt described Eidt expressed his hopes that this production would inspire a min- him as having “embodied this idea of the new genius, revolution- iature version of that rediscovery of Schiller’s works on our own ary figure in Germany.” And this fame carried his reputation as a campus: “Schiller is often forgotten, and he shouldn’t be.” great mind in the early years.

10 Modern Mary: Bringing the Queen of Scots to the 21st Century by Claire Joyce

Political intrigue, religious struggle, intense ro- mance: the life of Mary, Queen of Scots is a thrilling, yet tragic one which remains a source of contemporary fascination. Friedrich Schiller put Mary’s story to verse in 1800 with his Historical Tragedy, Mary Stuart. This fall’s mainstage presents Mary Stuart but in a new verse and prose version by Peter Oswald. This new version stays true to the original, but stream- lines the action and focus on direct, and speakable language. The new version also Features fewer characters, a shorter playtime, and a modern, succinct English translation of the original German verse, yet Oswald’s adaptation still captures the essence and spirit of the play.

Schiller’s original opened in 1800 in Weimar, Germany and became an instant sensation, and Oswald’s new version has also enjoyed great success. First performed at London’s Donmar Ware- house in 2005, it received raving reviews before moving to the Apollo Theater in London’s West End where it ran until 2006. This dazzling new production left audiences “marveling... at Schiller’s ability to mix private and public worlds and his profound under- standing of realpolitik,” as stated by Michael Billington in The Guardian. In 2007 it was performed by L.A. Theatre Works in Los Angeles, and starred Jill Gascoine as Elizabeth and Alex Kingston, of Doctor Who fame, as Mary. An audio recording of this version is still available for purchase online.

In 2009, Oswald's translation came to Broadway and was hailed by Ben Brantley of The New York Times as a “juicy new adaptation of Schiller’s German Text.” Featuring the same cast as its Donmar production, it garnered much success and seven Tony award nom- inations, including Best Revival of a Play. In 2013 it was performed by the world renowned Stratford Shakespeare festival in Canada, where it was lauded as a great success, and its production was extended due to its popularity. This past spring saw Oswald’s new version performed at the Folger Theatre in Washington, D.C., where it again met with great success. Elizabeth Bruce, in the Maryland Theatre Guide, called it, "A polished, provocative production about two of history's most fascinating women."

Other translations and versions of Schiller's play abound, notably one by Mark Leipacher and Daniel Millar which was performed in London in 2012. Modern audiences are as fascinated by Mary's story as people were in Schiller's time, 200 years ago. A fictional- ized version of her life is portrayed in the CW’s popular TV show Reign, which is set to air its third season this month. Though its Top: Maria Hotovy as Queen Elizabeth with her council. Middle: Simon Lemaire as historical accuracy is questionable at best, the popularity of the the Earl of Leceister. Bottom: Zeina Masri as Mary Stuart and Emily LaFrance as show demonstrates that Mary's life still captivates today's audi- Hanna Kennedy. Opposite: Friedrich Schiller. ences. 11 Tackling Schiller: An Interview with Director Kyle Lemieux by Angela Simon Associate Professor and Chair of Letting the text serve as a guide for all our KL: Our production is very much going to work. Within that framework is, of course, feel like Elizabethan England. Schiller of Drama, Kyle Lemieux is bringing a wide and glorious range of delicious pos- course is a German writing in 1800, and sibilities which I love exploring. he is not writing a literal History Play. He's Schiller’s epic historical drama to writing a piece of theatre that is alive and AS: Which tones, specific to this play, do dynamic. My goal is for our production the MJT this fall. Mary Stuart is Pro- you hope to highlight in your directing? to feel contemporary and urgent -just as Schiller would have wanted. fessor Lemieux’s 8th mainstage as a KL: I think Schiller is very interested in our—on the audience—connecting, and AS: What themes, which have remained faculty member. We sat down with empathizing with both Mary and Eliza- present throughout history, should we beth. While the play is called Mary Stuart, I look for in this production, particularly be- Professor Lemieux to discuss Mary believe strongly that this is a play with two tween Mary and Elizabeth? protagonists. Mary is imprisoned, where- Stuart and the Drama Department. as Elizabeth is in a different kind of prison. KL: A big one, of course, is the Protestant/ I'm really interested in a world, in which Catholic divide - a remarkable period in AS: When beginning work on a new pro- we have two women rulers, surrounded English history. Another theme is the true duction, where do you begin? exclusively by men. Schiller is also very in- cost of leadership, what we're willing to terested in the connective tissue between do, to sacrifice, to get what we need done KL: Well, first of all whenever you're work- the deeply personal and the political. So politically? What is the personal cost to ing on a play, the first thing for me, is to tonally it’s about the balance of the audi- have both power and authority? And what serve the playwright. With Mary Stuart ence's sympathies between two queens do I have to give up to obtain both of those specifically I want to make sure that I am who are both not wrong. I find that tension things? Mary and Elizabeth make very dif- serving Maria as Elizabeth, and Zeina as and pull so compelling and remarkable. It’s ferent choices in the most intimate aspects Mary in these remarkable roles during the a glorious play! of their lives -their sexual lives - and the rehearsal process. My job as the director, is play, very topically, explores the specif- to make sure that all elements of the pro- AS: How do you balance the history and ic consequences of the sexual choices of duction are serving what the text is doing. contemporary perception of a play like these women. This begins with conversations with my this? collaborators, Professors Cox and Turbyne. AS: How does working with the varied tal- 12 ents of UD student-actors affect the pro- do you think audiences will respond to on Campus. UD students love coming to gram? Schiller’s historical drama? be a part of the experience of seeing a play produced on campus, by their col- KL: One of the many things I love about our KL: Our audiences love big sweeping leagues they sat next to at the cafeteria. student actors, is there's a shared vocabu- plays like Mary Stuart! The first main- It's not simply about Mary Stuart though, lary that our Core allows for. It’s rewarding stage I directed as a faculty member was there's something much deeper and more to watch our student-artists wrestle with Shakespeare’s Richard III and we sold out! profound going on, and that is the simple some fundamental questions in authentic Mary’s story and Queen Elizabeth have al- gesture of attending a play with other peo- ways. Our university theatre has always ways had a pull on our cultural imagination ple who share the same space and story been what was envisioned by Pat and Judy -it’s why Schiller wrote the play and the re- with you for two or three hours. Critics try Kelly, to serve as opportunity for continued cent success of this new desperately to describe engagement with the canonical text and to version in London and What is the personal what it's like to be at the allow our students the opportunity to per- New York demonstrates cost to have both event of a play and in form in these great plays. the enduring popularity the end they never quite of their story. I hope our power and authority? capture the dynamism of AS: Last fall we saw your production of Ion- audiences will be thrilled, challenged and the lights going down, the performance esco’s absurdist comedy, The Bald Soprano moved. For a number of years, we were beginning and entering into the world of and in the Spring was Professor Novsinki’s listed by the Princeton Review among the the play. spectulacar production of Candide. How Top Ten Campuses Where Theatre Matters

Mary Stuart Sketches by costume designer Susan Cox. Left to Right, Top: Count Aubespine, Mary Stuart Act V, The Earl of Leceister. Bottom: Queen Elizabeth, Paulet, Queen Elizabeth. Opposite Top: Director Kyle Lemieux in rehearsal with Maria Hotovy as Queen Elizabeth and Nicholas Moore as Mortimer. Next Page: Mary Stuart.

13 Behind the Scenes: An Interview with the Designers by Angela Simon

your design? what influences each character's dress in your designs? WT: The MJT presents several challenges, SC: My hope is that I assist the actor in tell- as does any space. But what is so special ing the story that the script is preparing. about the MJT is the intimacy and the re- So, for instance, when Elizabeth, opens sulting effect on audience and performer her first scene, which is with the French alike. There is no place to hide, and subtle- ambassador, she 's talking about her mar- ty and nuance are rewarded—both in per- riage—her intended marriage—while the formance and in design elements. We are man, who she's been flirting with for ten creating an elaborate parquet floor made years, is next to her. And she's very flirty, up of some fifty odd tiles, and each tile is she's very engaged and she's very girl-like. made up of over forty individual pieces of She's kind of enticing people. So the dress wood—so you do the math! But this atten- that I have her in is a light, bright dress with tion to detail is rewarded by creating a rich an open breast and kind of flirty. Whereas environment in which to tell this remark- when Mary opens—you see her at the end able story—intimacy helps, and the stylis- of the eighteen year imprisonment—she's tic use of prison-imagery, hopefully allows still regal, certainly still a queen, but she's Associate Professor Susan Cox the audience to feel both the imprison- in dark, almost nun-like mourning. For her ment and the contrary feeling of freedom. life, she's in prison. And she's tied up and (costumes) and Affiliate Assistant needs to look less, certainly less lavish. Professor Will Turbyne (scenic & AS: What adjustments have you had to She's at home, at home in her prison. The lights) took a break from running make between working on the recent, viv- hope is that I can assist her in that mourn- their respective shops to discuss idly-colored shows Candide and The Bald ing of the life that has passed her by. the designs and inspirations for Soprano to Mary Stuart? AS: What has been the highlight of your Mary Stuart. WT: I don't know that my approach to work on Mary Stuart? design changes between comedies and AS: When designing for Mary Stuart, what tragedies. I try to serve SC: Oh, I loved served as your main inspiration? the production itself, So my general approach is that the research, and I believe that a I've also re- WT: The primary design concept that Kyle good comedy should my work is not to be the paint- ally enjoyed and I kept coming back to was this notion have tragic elements, ing, but the canvas on which our guest art- of “imprisonment”—literal in the case of just as a good tragedy the painting is made. ist—Joanne Mary Stuart, and figurative in the case of should have comedic Beudreaux— Elizabeth. When trying to communicate elements. she's sooo talented, and so cool. I always this notion of prison, one must identi- love the [costume] shop staff and their en- fy and show what the “prisoner” is kept AS: How do you design the set so that it thusiasm, I love working with the actors, I from—in this design it is the idyllic, English also does not overwhelm the stage? love working with the director, I love the landscape that is painted in triptych on initial process. Oh, this has been fun. I have three curved panels upstage. By using pris- WT: I often joke that I'm a scenic designer great colleagues—Kyle has been terrific— on walls and Tudor windows to obscure who hates scenery. It's just that I think less and just working on ideas has been great. and partially block the audience’s view of is more, that I believe theatre is about the this metaphor for “freedom”, we reinforce story-telling and the relationship between WT: As always here at UD, the best part of their imprisonment. While Mary Stuart actor and audience. If my work doesn't my day is working with the students in the was not actually in jail in the traditional serve to enrich that relationship, then by Scene Shop to bring the design into reality. sense, we have made the stylistic choice to default it distracts from it. So my gener- Almost every single element, from scenery overemphasize this concept using an im- al approach is that my work is not to be to props to lights and sound, has students' posing dungeon wall. the painting, but the canvas on which the fingerprints all over it. Seeing them grow painting is made. and develop and learn skills that contrib- AS: How does the thrust configuration of ute to University Theater is my favorite the Margaret Jonsson Theater (MJT) affect AS: In creating the walking canvas, Susie, part of every day. 14 Upcoming Events at the MJT Senior Studios: November 19-22; After Hours TBA

Senior Studios After Hours Productions Wanda’s Visit Dr. Jekyll and Written by: Christopher Durang Directed by: Stephen Thie Mr. Hyde Written by: Jeffrey Hatcher In this desperate, domestic-comedy, a Directed by: Gregory Frisby distraught married couple seeks marriage counseling to recover from a visit from an Jeffrey Hatcher's Dr. Jekyll and Mr. Hyde is old, crazy high school girlfriend. In a flash- a fresh, modern take on Robert Louis Ste- back, Wanda unintentionally uproots all of venson's classic tale; it's a mature, tense the problems in Jim and Marsha’s marriage thriller, one which explores both the mon- they have suppressed, forcing them to face ster in man and the dire consequences of all of their issues with each other and their hiding from the beast. Featuring a re-imag- marriage—and decide if they can be hap- Flowers ined plot and a dark new atmosphere, the py. With his satirical wit, Christopher Du- play addresses the question of personal rang puts a comical spin on the serious is- for Algernon identity in the persons (person?) of Dr. sues couples deal with in marriage. Written by: David Rogers Jekyll and Mr. Hyde. The show is not afraid Directed by: Simon Lemaire to break with the original novella when In this poignant human drama, mentally necessary and it will leave even those who handicapped Charlie, wanting to fit into know the story in the dark and on the edge society, volunteers for an experiment of their seats until its shocking conclusion. which transforms his life by increasing his intelligence. Using his new awareness, Charlie dives headfirst into the world of social connection only to discover that intellectual interactions are nothing like he expected. As society continues to reject him and the cost of the experiment takes its toll, Charlie, his teacher, and the scien- tists on the project explore what it means The Countess to be human, how much control people have over human nature, and how to use Cathleen the precious gift of life without wasting it. The Producers Written by: William Butler Yeats Written by: Mel Brooks Directed by: Esther Sequeira Directed by: Evyan Melendez

In this dark, Celtic fable, a famine-stricken The American musical is Mel Brooks' next Ireland creates a climate of desperation target on his satirical rampage. In a world for two demons disguised as merchants where Broadway is losing relevance and to persuade the starving Irish into selling audiences, washed-up producer Max Bi- their souls. Countess Cathleen rises up to alystock scrambles to survive until mousy contend with the demons and rescue her accountant Leopold Bloom accidentally people from eternal hellfire. The demons poses a solution to make real money in foil Cathleen’s attempts to stop them the theater: over-fundraise the biggest leaving her with a difficult decision. Does flop on Broadway. Together, this unlikely she choose her own peace and salvation duo must assemble the worst creative forsaking the peasantry to suffer eternal team in New York and figure out what damnation? Or does she surrender herself makes a partnership successful. so that others may have a chance at heav- en? 15 Schiller’s MARY STUART a new version by Peter Oswald

OCT. 28-NOV. 7, 2015 Margaret Jonsson Theater 972.721.5314 udallas.edu/drama [email protected]